Monday, 21 October 2013

#Help promote poetry, #COMMENT on this article, and help forge letters into golden words.

USE SENSORY LANGUAGE

(1)Describe the details. Haiku are comprised of details observed by the five
senses. The poet witnesses an event and uses words to compress that experience
so others may understand it in some way. Once you have chosen a subject for
your haiku,

(2)think about what details
you want to describe. Call the subject to mind and explore these questions

·What did you notice
about the subject? What colors, textures, and contrasts did you observe?

·How did the subject
sound? What was the tenor and volume of the event that took place?

·Did it have a smell,
or a taste? How can you accurately describe the way it felt?

(3)Show, don't tell. Haiku are about moments of objective
experience, not subjective interpretation or analysis of those events. It's
important to show the reader something true about the moment's existence,
rather than telling the reader what emotions it conjured in you.Let the reader feel his or
her own emotions in reaction to the image.

oUse understated subtle
imagery. For instance, instead of saying it's summer, focus on the slant of the
sun or the heavy air.

oDon't use cliches.
Lines that readers recognize, such as "dark, stormy night," tend to
lose their power over time. Think through the image you want to describe and
use inventive, original language to convey meaning. This doesn't mean you
should use a thesaurus to find words that aren't commonly used; rather, simply
write about what you saw and want to express in the truest language you know.

ABOVE ALL

Be inspired

Practice a lot

Communicate with other
poets.

ADDITIONAL TIPS:

·Haiku has been called
"unfinished" poetry because each one requires the reader to finish it
in his or her heart.

·Contemporary haiku
poets may write poems that are just a short fragment with three or fewer words.

·A Haiku doesn't always
need to rhyme.

·Haiku originated fromhaikai no renga, a collaborative group poem that is usually
one hundred verses in length. Thehokku, or starting verse,
of renga collaborations indicated the season and also contained a cutting word.
The haiku as its own form of poetry continues in this tradition.

Sample Love Haiku

Refreshing
and cool,
love is a sweet summer rain
that washes the world.

Love
is like winter
Warm breaths thaw cold hearts until
one day the spring comes

A
bird flies sweetly
on paper wings. Telling all
of my love for you.

Every
day I will
love you more than you could know.
We are here as one.

The
softest whisper
beckons me closer to you.
I love you, dearest.

Vast
as a mountain,
my love for you shines through for
all the world to see.

Sample Funny Haiku

One
shark said to the
other when eating a clown
fish: this tastes funny.

The
bartender said
to the neutron, “For you, sir,
there will be no charge.”

A
question for you:
Where does Washington keep his
armies? His sleevies.

An
octopus went
off to war. It’s a good thing
that he was well-armed.

A
wise man once asked,
“Why, pray tell, is the sand wet?”
Because the sea weed.

Tuesday, 8 October 2013

#Help promote poetry, #COMMENT on this article, and help forge letters into golden words.

(1)Know the sound structure of Haiku.
Japanese Haiku traditionally consist of 17 on, or sounds, divided into three phrases: 5 sounds, 7 sounds, and 5 sounds. English poets interpreted on as syllables. Haiku poetry has evolved over time, and most poets no longer adhere to this structure, in either Japanese or English; modern Haiku may have more than 17 sounds or as few as one.
When you're deciding how many sounds or syllables to use in your Haiku, refer to the Japanese idea that the Haiku should be able to be expressed in one breath. In English, that usually means the poem will be 10 to 14 syllables long.

(2)Use Haiku to juxtapose two ideas.
The Japanese word kiru, which means "cutting," expresses the notion that Haiku should always contain two juxtaposed ideas. The two parts are grammatically independent, and they are usually imagistically distinct as well.

•Japanese haiku are commonly written on one straight line, with juxtaposed ideas separated by a kireji, or cutting word, that helps define the ideas in relation to each other. The kireji usually appears at the end of one of the sound phrases. There is no direct English translation of the kireji, so it is often translated as a dash. Note the two separate ideas in this Japanese haiku by Bashō: “how cool the feeling of a wall against the feet — siesta”.

•English haiku are most often written as three lines. The juxtaposed ideas (of which there should only be two) are "cut" by a line break, punctuation, or simply a space. This poem is by American poet Lee Gurga:
fresh scent—
the labrador's muzzle
deeper into snow

CHOOSE A SUBJECT

(3)Distill a poignant experience.
Haiku is traditionally focused on details of one's environment that relate to the human condition.

•Japanese poets traditionally used haiku to capture and distill a fleeting natural image, such as a frog jumping into a pond, rain falling onto leaves, or a flower bending in the wind. Many people go for walks just to find new inspiration for their poetry, known in Japan as ginkgo walks.

•Contemporary haiku may stray from nature as a subject. Urban environments, emotions, relationships and even humorous topics may be haiku subjects.

(4)Include a seasonal reference.
A reference to the season or changing of the seasons, referred to in Japanese as kigo, is an essential element of haiku. The reference may be obvious, as in using a word like "spring" or "autumn" to indicate the season, or it might be subtler. Example: poem by Fukuda Chiyo-ni:
morning glory!
the well bucket-entangled,
I ask for water

(5)Create a subject shift.
In keeping with the idea that haiku should contain two juxtaposed ideas, shift the perspective on your chosen subject so that your poem has two parts. For example, you could focus on the detail of an ant crawling on a log, then juxtapose that image with an expansive view of the whole forest, or the season the ant is currently inhabiting. The juxtaposition gives the poem a deeper metaphorical meaning than it would have if it were a simple, single-planed description.

Sample Nature Haiku
•An afternoon breeze
expels cold air, along with
the fallen brown leaves.
•Cherry blossoms bloom,
softly falling from the tree,
explode into night.
•The warmth on my skin.
Fire falls beneath the trees.
I see the sun set.
•Summer here again.
Music plays sweetly, drifting.
And life is renewed.
•A winter blanket
covers the Earth in repose
but only a dream
•An ocean voyage.
As waves break over the bow,
the sea welcomes me.

Friday, 16 August 2013

finally the wind is without avoice.It is tired of humming this deadboys tune.Pale within my own skin.I used to love having so much toloose.Close your eyes, dream of me just asi dreamed of you.Open it to find everything in ruins.Sober serene tunes..Evergreen tales.Father, did u ever read what iwrote you?.Hidden beneath that old greyshelf.Did u ever listen to what i told u?.Under that old num tree?.Did u ever listen to the song thewind sang?.Close to those mountains?.Did u ever let in what the worldsaid?The poet and the swaying blade.The distant gossips and thedeafening sighs.Have u ever thought this world asa dream.Many mistakes seemsuncorrected.Are u the martyr? Are u the saint?.Are u God?, Are u an Angel?.How blind can u be, cant u see.I choose the long road but will uwait?Through these waves, ThroughAragons trail.A sinners gift to that princess oflust.His coins an open gift.Can u blindfold the blind?.Can u sing to the deaf?Can u tell the lost to find his way?Or preach to the preacher topreach what is right?A friendly hangman and his noosearound a frayed heart.Eternity torn apart.As the priest yells "MAY GOD HAVEMERCY ON HIS SOUL"are u God? Aren't u just like us?Death toll now the funeral bells.And the hymn for the dead.A song for the lost one.Now he is free, Swimming in thesea of souls.Home-bound he is, to heaven orhell I know not"

Written By: PRESIUS RUKEYSXZ DREPosted By: Moses S. Rotimi

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No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the written permission of the publishers.

No part of this publication may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic,
mechanical, photocopying or otherwise without the written permission of
the publishers.